Daniel Wyatt is a world-class mastering engineer. Tracks that pass through his studio come out the other side with extreme clarity, punch and warmth. How does he get those results? Watch this course and find out. What makes these tutorials really shine is the fact that Daniel is also an engaging instructor. And, he has that rare ability to explore complicated processes and make them crystal clear.

This course has added two-for-one value: You not only learn the ins-and-outs of iZotope’s Ozone 7 but you also get all kinds of firmly established mastering techniques that you can then apply to just about any mastering situation.

So learn mastering and then “master” the subtleties of iZotope’s Ozone 7 at the same time in this expertly conceived and thoughtfully presented course by Daniel Wyatt.

This tutorial has been a crucial part of how I master music now. Learned so much from this and Im really glad I watched it

(5)

Lauren Comele Morris wrote on September 20, 2016

I had a 16/48 mono file from a live show recorded off of a digital Berringer board in one of Austin's finest venues with two Grammy winning artists. Even with a great board mix and great performances, mastering the show was a challenge. This tutorial really helped me polish it up and helped me to further understand Ozone. It was a big learning curve and difficult with all the bleed and energy changes of a live performance mono track. I have 14 more live shows to master with more awesome artists. Luckily these are multi tracked. Thank you for this tutorial. It makes me look and sound good.

(1)

Giuseppe Dio wrote on July 24, 2016

Great and useful course. It helps to go over the presets, teaching techniques useful both with Ozone and with other mastering tools.

(5)

Zac wrote on May 6, 2016

Thanks Daniel for sharing these helpful tips! It definitely helped clear up some Mastering 'mysteries' and solidified a overall better cohesive workflow for me. Excited to implement these concepts :)

(11)

A. Spooner wrote on February 2, 2016

Excellent course on mastering dance music using Ozone. Would recommend this to anyone interested in mastering dance music as the information here applies to mastering in general, not just using Ozone. Danny delivers quality information in an accessible manner.
My one point to note when ABing examples e.g. Reverb, the bypass on/off of the audio example could have been left to run a little longer as the inexperienced ears might need a longer audio sample to compare when bypassing an effect.

(54)

Chris E. wrote on January 7, 2016

I've owned Ozone for awhile (versions 5 & 6), and have used some of the presets on my mixes. They sounded great, but I knew something was missing. Two things seemed mysterious to me about mastering: the order of the chain of processors, and the order in which you should work with each processor to polish your master. Daniel's course addressed both of these EXPLICITLY, and it made much more sense to me afterwards.
Using his method, I went back and remastered something that I did prior to the course. My post-Daniel master was MUCH punchier and had terrific clarity compared to my "preset" master I did before the course. It was really shocking!
I still have a lot to learn, but I feel this course helped me get a much better grip on the art of mastering. I look forward to checking out more of his courses!

(1)

Jonathan wrote on January 1, 2016

Daniel did a fantastic job demystifying the typically elusive concepts of mastering in a way that was specific enough yet still accessible to a wide audience. I worked on an original song during the tutorial, and it made a monumental difference! Many thanks and keep up the good work!

(1)

Rodger.W wrote on December 27, 2015

Outstanding in every way!!!!

(5)

Don Mecca wrote on December 26, 2015

This has definitely put my productions over the top...excellent lesson!

(1)

Jazzfan wrote on December 22, 2015

OK, I guess, if you're into highly processed EDM. It's always better, IMHO, to create tutorials using real-world musical instruments and vocals because people know what they are supposed to sound like.

(3)

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